I have always considered myself an artist who weaves, rather than a weaver who makes objects.

My practice has long been rooted in working with salvaged yarn materials that have already lived elsewhere, carrying traces of industry, craft, and human decision making before they reach my loom. These yarns arrive with a history, and weaving becomes a way of listening to that history rather than erasing it.

The piece currently on my loom is woven using yarn originally from Brian Turner Trimmings, a company known for producing high quality, hand made furnishing trimmings. The yarn was salvaged by a collector I recently met in London and I was drawn to it immediately not only for its material integrity, but for what it represents: skilled manufacture, durability, and a lineage of making that values time and care.

Working with this yarn feels like a quiet collaboration across disciplines. What was once intended for interiors now finds itself re-formed through hand weaving, shifting context while retaining its strength and character. This transition from one purpose to another mirrors much of my practice.